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rising stars on stage

by:Marslite     2019-09-18
\'Bharatha keralam\' brings together Theertha E Poduval and Surabhi Nambisan, two-and-
Future artistes perform the dance of pohardo and Keralanatanam respectively.
While the name suggests that it might make some sense to combine the two forms of dance together, it turns out that it\'s just two different solo sessions.
Theertha is a disciple of Shijith Nambiar and Parvathy Menon, and also a diploma holder of Kalakshetra, who started at raga Bowli with Shiva sthuthi
She had a good start by showing a variety of Shiva poses and dancing clips that connected them.
The valnan chosen in the evening is the \"charamera\" of Lac natakuri Ji, which is the work of moravadu lanaswami nartowana
Her interpretation of warnan is unique, and its prelude is aa Draupadikku valuva sabhalo. . . ’.
When the singer started singing the first line of the last charanam, and then a short tanam mixed with alapana, the dancer showed de la at Kaurava court
The heroine complains about why God does not give her attention, and this short introductory segment makes more sense because it is the main thrust of warnan.
When she continued with warnan, Theertha looked promising.
If you can get more involved in Abinaya\'s performance and perform more in the footwork, the audience will be more fascinated.
Due to a delay in the start of the show, Theertha had to shorten her recital with popular Purandara Dasa kriti.
Surabhi Nambisan has been studying Keralanatanam under the leadership of Chithra Mohan for almost 15 years.
The recorded track proved to be a limiting factor, but Surabhi did her best at her recital.
Surabhi starts with \"rangavandanam\" and then there are three more items that look the same structurally.
Two of them are based on Ramayana, and the ending soorpanakha has some elements to explore.
The way she introduced the character was more or less inspired by \"karivattam (A stylized self
Introduction to the impromptu show seen at Kathakali)
Very interesting.
When it comes to pure dance, the repertoire relies heavily on Kathakali in many ways, and Surabhi performs well in performing these kalasams between the performance sections.
However, in padardhabhinaya (
Language meaning of performance lyrics)
Duan and related improvisation, she did not meet the standard.
The lack of light and the large flexible banners in the background hardly enhance the stage, which the organizers can notice to make the performance more attractive.
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